For art enthusiasts seeking a meaningful way to treat themselves while actively celebrating and supporting contemporary artists and the independent galleries that champion them, the Art Jewelry Forum (AJF) has returned with the second part of its September 2026 exhibition showcase. Through its ongoing, bi-monthly "On Offer" series, AJF provides an extensive, curated platform for its network of international gallery supporters to present extraordinary, hand-selected pieces designed to inspire collectors and connoisseurs worldwide.
The latest edition of the series features a diverse array of conceptual, sculptural, and material-driven works from across the globe, with pieces ranging from sustainable wearable sculptures made from reclaimed textiles to precious metals manipulated into organic, flowing forms. Collectors and interested buyers are invited to review the featured works and contact the respective galleries directly for inquiries and acquisitions.
Opening the September showcase is Australian artist Linda van Niekerk, whose "Clouds" series is currently being exhibited by Zu design in Adelaide, Australia. Inspired by the vast and atmospheric Tasmanian skies, van Niekerk’s featured neckpiece, titled "Silver Cloud Burst" (2025), captures both the distinct shapes and the constantly shifting, evolving nature of cloud formations. Crafted from sterling silver and silk, the 19-inch-long piece features a chenier measuring 8 millimeters in diameter. The work is available through gallerist Jane for a retail price of AU$1,750.
In Lisbon, Portugal, Galeria Tereza Seabra is presenting the work of Catarina Silva as part of her recent solo exhibition, "Jardin d’agrément," which is featured in the official program of the third Lisbon Jewellery Biennial. Silva’s untitled 2026 pendant—crafted from oxidized silver, lapis lazuli, and tinted agate—draws on themes from a utopian garden inspired by paradise and mythological narratives across diverse cultures. In this conceptual landscape, humans, animals, and plants coexist in a shared ecology of wonder and reciprocity. The jewelry acts as a living constellation of symbols, incorporating imagery such as apples, unicorns, flowers, and birds to evoke fertility, knowledge, care, and transformation. The snake, traditionally viewed as a tempter, is reframed here as a guardian of wisdom and regeneration. The piece is available through gallerist Tereza Seabra for 750 euros, plus shipping.
Bringing a focus on historical specimens and found objects, the Heidi Lowe Gallery in Lewes, Delaware, is showcasing a brooch by Carin Jones titled "On a Whim Tattoo" (2026). Measuring 2.5 by 2.25 inches, the brooch is constructed from vintage tin, sterling silver, acrylic, and signature brass and stainless steel bolts. Jones is known for subverting traditional expectations of grandeur by replacing conventional gemstones with everyday found artifacts set within finely crafted precious metals. This deliberate juxtaposition challenges established notions of material worth and artistic merit, prompting viewers to reconsider the relationship between intrinsic value and artistic expression. The piece is available through Kassadi Williams for US$350.
At Four Gallery in Umeå, Sweden, artist Alexander Blank presents a speculative and provocative exploration of human anatomy in his 2025 brooch, "Bones & All," crafted from Corian and silver. Addressing the multifaceted roles of human hands—which cook, build, heal, and navigate digital screens—Blank poses a conceptual question about autonomy: what if hands decided to break free from the brain’s commands to create an entirely new reality? This piece offers a glimpse into an imaginative evolutionary path where hands and fingers achieve independence and embody their own distinct existence. The work is available through gallerist Karin Roy Andersson for 460 euros, excluding VAT.
Exploring the intersection of protection and trauma, Brooklyn Metal Works in Brooklyn, New York, is featuring the work of Kerianne Quick through its gallery space. Quick’s brooch, ".223 Remington (Oh Well)," is part of a broader collection of necklaces and brooches made from titanium, vegetable-tanned leather, and cotton that draw inspiration from historical and contemporary forms of body armor, including utility wear, aprons, bibs, and tactical vests. The inclusion of titanium "wound" inserts—informed by slow-motion projectile testing and forensic documentation of high-caliber bullet wounds—transforms the stark evidence of bodily trauma into deliberate objects of adornment, questioning societal concepts of manufactured protection and false security. The brooch is available through Brian Weissman for US$1,750.
London’s Objects Beautiful is highlighting the work of Gitte Nygaard, widely recognized as one of the most prominent European art jewelers working today. Nygaard’s porcelain ear stud incorporates silver, bronze, and sponge to explore porosity as both a physical form and a conceptual meaning. The piece acts as a permeable, changeable imprint of relations in constant transformation, where inner structures surface naturally through materials that absorb, resist, and release. Functioning as both a method of making and a way of thinking, the design expresses a cautious hope that jewelry can reflect the fragile, ongoing construction of the world. The ear stud is available through gallerist Yael Reisner for £270 GBP, excluding tax.
In Chicago, Illinois, Pistachios Contemporary Art Jewelry is presenting a statement ring by Sowon Joo crafted from solid 18-karat gold and accented with diamonds. The intricate ring showcases Joo’s signature technique of crocheting precious metal by hand, resulting in a textural masterpiece unlike conventional fine jewelry. Joo’s overarching artistic practice investigates the fundamental rites of passage experienced by all living creatures—spanning birth, death, and the developmental growth occurring between them—using metaphors derived from the natural world. The ring is available in size 6.25 through Meg Nash for US$16,795.
Galeria Reverso in Lisbon, Portugal, is featuring a piece from Gésine Hackenberg’s "Still-lives Collection," specifically the brooch "Precious Fluids #1" (2012), made from silver-plated glass and red brass. Describing her collection as a contemporary reinterpretation of 17th- and 18th-century Dutch still-life paintings, Hackenberg cuts vintage glassware and rearranges the fragments into new compositions. The work serves as a translation from three-dimensional domestic objects into precious wearable items, positioning the wearer’s body as a living canvas while paying homage to the history of European glass manufacturing and design in the Netherlands, Germany, and Scandinavia. The piece is available through Paula Crespo for 940 euros.
The Wearable Art Museum highlights the work of Marty Ornish through her "On the Fringe" collar series. Titled "Fringe Benefits" (2026), the large-scale collar measures 24 by 20 by 22 inches and is constructed from a historical, 100-year-old cotton quilt, batting, letterpress ink, and fringe. Known for creating politically charged, thought-provoking museum exhibitions that utilize discarded fabric as primary material, Ornish operates under zero-waste mantras to transform societal waste into wearable sculptures. This piece is currently featured in the California Fibers exhibition "The Languages of Fiber" at the Huntington Beach Art Center through October 24, 2026. The collar is available through museum director Lisa M. Berman for $1,200.
In Auckland, New Zealand, Fingers Gallery is featuring Aaron Brown’s 2025 ring, "Huia," crafted from 9-karat yellow gold in size R. Raised in a creative environment that encouraged fearless curiosity, Brown translates the flora and fauna of Aotearoa into wearable art, balancing refined craftsmanship with deep cultural resonance. Whether carving realistic representations of native birds like the Huia and the fantail or working with botanical motifs like the Kowhai, the artist focuses on capturing a distinct sense of personality within his carved subjects. The ring is available through Lisa Higgins for NZ$2,370.
The Baltimore Jewelry Center in Baltimore, Maryland, is spotlighting Cindy Cheng’s single sterling silver earring, "Best Bud" (2022). Cheng, an established sculptor, jeweler, and former faculty member at the Maryland Institute College of Art (MICA), brings a rigorous background in drawing and fine arts to her studio practice. Having completed prestigious residencies at the Joan Mitchell Center, Anderson Ranch, Arrowmont School of Art, and most recently the Baltimore Jewelry Center in fall 2025, Cheng is driven by a continuous pursuit of new skills and techniques. The single earring is available through J Diamond for US$150.
In Montreal, Canada, Galerie Noel Guyomarc’h is presenting Carina Shoshtary’s brooch "Suspended Gravity" (2026). Part of her new series, "Forms of Holding," the brooch incorporates natural elements—including snail shells, Japanese anemone seeds, and hinoki wood splints gifted by traditional mask maker Hideta Kitazawa—bound and secured using a 3D pen to create a contemporary form of protection. Measuring approximately 7.8 by 4.7 by 2.3 inches, the piece also utilizes PLA, silver, stainless steel, and lacquer. The work is available through Noel Guyomarc’h for 3,000 euros.
Platina in Stockholm, Sweden, is featuring "Braid" (2024), an oxidized silver brooch by Ameli Dévé. Measuring 7.8 inches in length, the piece makes use of pure fine silver, whose inherent softness allows Dévé to push the material to its structural limits and achieve forms that would otherwise be impossible in harder metals. The resulting work alludes to traditional craftsmanship while simultaneously expanding its boundaries. Dévé, who completed a three-year apprenticeship in Tibet making traditional jewelry before earning an MFA in Sweden, frequently draws on universal symbols and familiar forms to reexamine classic structures. The brooch is available through Sofia Björkman for US$550.
Concluding the September showcase, Gravers Lane Gallery in Philadelphia, Pennsylvania, presents Teresa Shields’s "Green Pod Necklace" (2021). Crafted from felted wool and wool roving with a hidden magnetic clasp, the necklace measures 6 by 25.5 inches. Inspired loosely by the maple seed, Shields focuses on capturing the organic essence of the form rather than creating a strict botanical replica. From a distance, the repeating organic shapes read as a uniform, fan-like collar; upon closer inspection, every individual pod is uniquely shaped and colored by hand. Shields developed her felting methods following an intensive at Penland in 2016, utilizing a reverse-engineering process to calculate how wool shrinks in order to guide the material toward its final form. The necklace is available through Mia Chen for US$5,800.
